secretmodigliani.com
| Pfannstiel | Lanthemann | Ceroni | J. Modigliani | Parisot | Patani | Restellini | Wayne |
| Nº 188 | Nº 161 | Nº 195 | YES | 43/1917 | Nº 203 | YES | ? |
Léopold Zborowski, Paris
Gallerie Berthe Weill, Paris
Bing Gallerie, Paris (1925)
?
Pierre Loeb Gallery, Paris
(Restellini mentions a provenance in Guillaume in 1928-29)
Fukushima Collection, Tokyo (1928-29)
Yamamoto Collection, Japan
?
Osaka City Museum of Modern Art, Osaka, Japan (Inv. nº 125)
In Process
Einstein, Die Kunst des 20. Jahrhunderts, Berlin, 1926 ?
Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 31
Descargues, Amedeo Modigliani. Braun, Paris, 1951, pl. 5
Descargues, Amedeo Modigliani, Braun, Paris, 1954, pl. 5
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 188 (size 62 x 100, as in unknown collection, Pfannstiel had complete access to Guillaume & BIng files )
Modigliani J. , Modigliani: Man and Myth, Orion Press, New York, 1958
Modigliani J. , Modigliani senza leggenda, Vallecchi Editore, Firenze, 1958
Modigliani J. , Modigliani sans légende, Gruend, Paris, 1961
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº
Kamon-Amm, The World of Modern art, Shueisha, Tokyo, 1971, nº 16
Lassaigne, Tout Modigliani, Flamarion, Paris, 1972 - nº 161, p. 203
Ceroni & Cachin, Tout l'oeuvre peint de Modigliani, Paris, 1972 - nº 195 (dated 1917)
Orion Press, Tokyo, 1989 - nº 49
Boyance-Dugat, Modigliani, l'Objet d'Art, Quétigny, 1990 - nº 3H, cover and p. 7
Parisot, Catalogue Raisonee Modigliani, Graphis Arte, 1991 - nº 43/1917 (Parisot present this work as the one in Japan, Osaka museum)
Patani, Catalogo Generale, Leonardo, Milano, 1991-94 - nº 203 (as lost, size 65 x100 - with the text that this work is lost and that the 2 copies known in Japan and USA are forgeries???)
Parisot, Modigliani, Pierre Terrail, Paris, 1992, p.210
Magazine, L'Objet d'Art - Modigliani exposition au Sénat, 2002, pp.32, 35-36
Decrooq-Restellini, L'Ange au visage grave, Musée du Luxembourg, Paris, 2002 - nº 53, pp. 292-293
Klein, Modigliani: Beyond the Myth, The Jewish Museum, 2004-2005, p. 63, fig. 1, pl. 51, p. 135 (size 60 x 92.2)
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
In process
Paris, Modigliani , Berthe Weill Gallery, 1917 (?)
Paris, Modigliani, Galerie Bing et Cie, 1925???? (All the expert mention this data but the painting is not visible in any of the images of the exhibit)
Tokyo, 11e Chefs d'oeuvre de a Painture Européenne, Tokyo metropolitan Art Museum, 1947
Osaka, Ecole de Paris, Daimaru Dep. Store, 1967 - nº 38
Tokyo, Ecole de Paris, Daimaru Dep. Store, 1968 - nº 38
Tokyo, Modern Japanese Art and Paris, National Museum of Modern Art, 1973, p. 78
Tokyo, Art Gallery Tokyu, Modigliani, Utrillo, Kisling, 1980 - nº 12
Tokyo, Modigliani exhibition, National Museum, 1985 - nº 83
Nagoya, Modigliani exhibition, Aichi Prefectural Art Gallery, 1985
Osaka, Cat. Yuzo Saheki, 1989 - nº 115
Martigny, Modigliani, Fondation Pierre Gianadda, 1990 - nº 72
Paris, Modigliani: l'ange au visage grave, Musée du Luxembourg, 2002 - nº 59 (Restellini say 60 x 92.2)
New York, Modigliani: Beyond the Myth, The Jewish Museum, 2004
Hakone, Finding Modigliani, Pola Museum of Art, 2014
Seoul, Amadeo Modigliani: Legend of Montparnasse, Hangaram Museum of Seoul Art Center, 2015
Villeneuve d'Ascq, L'oeil intérieur, LaM. Lille Métropole musée d'art moderne, 2016
Budapest, Modigliani, Hungarian National Gallery, 2016
Helsinki, Modigliani, Ateneum Art Museum, 2016-2017
In process
Pfannstiel Photo:
Painting in Japan:
Differences between both images:
Taking note that the Pfannstiel Photo is a copy in black and white that lost a big percent in quality, probably cut for printing purposes, the main areas of interest
would be the blue cushion, the eyes and in general the black lines that seems to move from one to another, here is a more in detail example:
Detail of the Cushion in Japan
Detail of the Cushion in Pfannstiel
What is different:
all the lines are moved, not the details, the lines.
Detail of the eyes of the model in Japan:
Detail of the eyes in Pfannstiel:
What is different:
all the lines are moved, not the details, the lines.
Detail of the lips of the model in Japan:
Detail of the lips in Pfannstiel:
What is different:
all the lines are moved, not the details, the lines.
Detail of the signature in Japan:
Detail of the signature in Pfannstiel:
What is different:
all the lines are moved, not the details, the lines, the L is visible, the i and the a, is visible...
Therefore are clear things different between the image present in Pfannstiel, Modigliani et son oeuvre, elude critique et catalogue raisonné, 1956 - nº 188, plate 21
and the painting in Japan.
Could it be because of cleaning, restoration or a moved image in Pfannstiel, who knows only a real X ray and pigment analysis would tell it for certain.
But personally I do not trust none of the 2 explanations (Patani as a forgery or Restellini as original)
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Nº 244 in D' Atri papers dated 1917, size 62 x 100, titled "Nu couche" - Provenance in Zborowski, 1929> ?
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Detail of signature in visible normal light:
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The painting framed in Budapest, Modigliani, Hungarian National Gallery, 2016:
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The eyes of this painting reflect a style Modigliani used from the end of 1915 to the first months of 1918, very similar eye construction can be
seen in many Modigliani works from this period:
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The same sitter can be recognized in other paintings by Modigliani, with an undoubted match:
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